Schirrr1er's Library of Musical Classics

MAS T E RS 0 N G s B y

GREAT COMPOSERS - -- -

FRANZ LISZT

TWELVE SONGS IN TWO VOLUMES

-~---------~--·----·--------··------

THE ENGLISH TRANSLATIONS BY

DR. THE 0. BAKER

WITH A CRITICAL NOTE BY

RICHARD ALDRICH ---

PUBLISHED IN TWO EDITIONS

FOR HIGH AND L 0 U? V 0 ICE

Nos. 642, 644

I Nos. 643, 64;

FOR HIGH VoiCE FOR Low VOICE

NEW YORK : G. SCHIRMER BOSTON : BOSTON MUSIC CO.

CoPYRIGHT, 1902, BY G ScHIRMER

FRANZ LISZT A CRITICAL NOTE BY

RICHARD ALDRICH

Franz Liszt's marvellous career brought him into intimate relations with all sides of his art. It was a career of fascinating brilliancy, marked by strongly contrasted episodes; of invincible success in most things that the world counts as success; of changing and advancing ideals ; of strivings that lifted him ever higher and higher toward nobler concep­tions of the functions of an artist. We find him first a virtuoso of perhaps the highest genius that the world has ever seen; a composer of bravura pianoforte pieces that only his technical powers could approach. We see then a deeper influence gaining control over his activities, turning him to the most serious forms of composition, to a philosophic con­sideration of problems underlying the ~sthetics of music, and to an effort to lead his art into new paths, to establish new forms and set up new ideals. There is something pro­foundly impressive in the spectacle of this man, at the climax of the most triumphant career that a musician ever had, suddenly renouncing all the worldly success it brought him, and withdrawing from its allurements to devote himself to preaching a new evangel of art. He established himself as conductor of the opera and orchestra at the Court theatre of Weimar, with the distinct purpose of becoming the advocate of the new school of music, of forwarding 'vith the prestige of his great name and the resourc·es of his position the claims of an unpopular and misunderstood gronp of composers, whose works had otherwise little chance of a hearing; and at the same time he enlisted with enthusiasm under this same banner as a composer, fired with the same enthusiasms and animated by the sa1ne views of the artistic ideal. The close of Liszt' s career as a virtuoso and the beginning of his activity at Weimar occurred at the end of the year I 84 I ; and from about the same period of his life is to be dated his concern with the higher functions of creative art, and the beginning of a long series of compo­sitions that have had a marked influence on the development

15874. HI Copyright, 1902, by G. Schirmer

of music. Among the great mass of the works of these maturer years his songs hold an important place.

It was distinctively a German ideal that he followed in this later development of his genius. This fact is clearly visible in his songs. They number more than sixty ; with a very few exceptions they were conceived and composed on German soil, are settings of German poems, and, while essentially individual In their embodiment of Liszt's own genius, show plainly the influence of the German masters of song. In the late summer of I 84 I-he was then thirty years old-he took up his abode on the island of N onnen­werth, in the Rhine. It IS significant of the influence always exerted upon him by his environment that his first composition during his communing with the sacred river of Germany should be a setting of Heine's poem, "Die Lorelei." He had hitherto published but one song, a setting of Italian verse to music, unmistakably I tal ian in its quality, "Angiolin dal biondo crin "-another hint of the receptivity of his nature-that he had composed during a sojourn at Rome. '"fhe " Lorelei" was follo~'ed by a series of songs to words by Goethe, Schiller, Heine, Ruckert, Geibel, Bodenstedt, Lenau, Hoffmann von Fallersleben, and other German poets. In I 842 he published a set of French songs chiefly to poems by Victor Hugo, which, according to his biographer, Fraulein Ramann, he had already con­ceived in Paris, and which bear in themselves traces of their French origin; but with this exception, the sixty odd songs that followed, written on his Rhine island and during his career at Weimar, are an endeavor to gtve voice to the German spirit and to interpret German ideals.

These songs have not escaped the fate of Liszt's other compositions in becoming the subject of great debate and controversy. They belonged to the "path-breaking" pro­ductions of the young German composers, who were trying to revolutionize the art of music and enlarge its boundaries; and as such they came in for the general condemnation with which the conservatives fought the new movement. But since the stnoke and noise of that conflict have in large measure passed away, Liszt's claims to recognition as a creative genius, as a composer, have been resisted even by ardent supporters of the cause he espoused. Only a small proportion of his works has found wide acceptance from

l58J3, 15874. IV

the musical public, and, with comparatively few exceptions, the songs are among the less known. Son1e of them, such as " Die Lorelei/' " Du bist wie e1ne Blume," and " Es muss ein Wunderbares sein," have gained a large measure of popularity. But it may be truly said of all of them that they are as entirely representative of the cornposer's aims, methods, and inspiration as any of his compositions, both in their melodic quality and in their form and structure.

Most of these songs embody in the highest degree the dramatic idea-the abandonn1ent of the purely strophic form of continuous melody in favor of a method of procedure that shall n1ore accurately expound the changing sentiment of the text. Verse by verse, almost word by word, we find the music in them subordinated to the poem through changes of melodic motive, or the interruption of the· melodic sequence with sudden breaks into declamatory passages ; frequent differentiations of the tempo, shiftings of rhythm and of tonality, sometimes by adventurous modulations, sometimes by still bolder plunges into new keys without modulation ; and everywhere the elaboration of the piano­forte accompaniment as an essential factor in the musical .development. There are constant rerninders of Liszt's anxiety that exactly the right shade of meaning shall be given by the singer. Besides the fullest use of ordinary marks of expression, he gives directions in various languages as to the minutest details of performance. The half-spoken style is a favorite of Liszt's, as may be gathered from the frequent appearance on his pages of such hints as " decla­mirt," " gesprochen," and "fast gesprochen," "parlando," "parle;" he Is frequently explaining just the dratnatic nuance, accent, and vocal coloring he desires with such prescriptions as "mit halber Sti1nme," H bestimmt," "ernst," "duster," "schwungvoll," "gehein1nissvoll," "phlegmatisch," "hintraumend," "schwankend," "sehr accentuirt," "vibrato," "pronunziato assai," and so or1. And, indeed, it is quite essential for the realization of the spirit In which Liszt conceived his songs that the singer should be guided by these directions to a perfectly free and dramatically flexible style of performance.

Here we have reached, as the distinguished English critic, Dr. Huetfer, has said, the consistent carrying-out of the poetic principle in lyric music to its final consequences.

1587'd, 15H74. y

Liszt has freed himself entirely from any reverential feeling for the abstract sacredness of the musical form ; "he is a poet and nothing but a poet." He has endeavored to embody in the smaller frame of the song the principle that Wagner laid down for the lyric drama ; that the means of expression, the music, should not be made the end; that the object of the expression, the drama-represented now by the poem­should not be made the means. The music must lend itself unreservedly and continuously to intensifying the emotional content of the text ; the text must not be a mere peg upon which to hang a tune. Others before Liszt had found that a strict adherence to the strophic form in the art-song was often impossible, and the "durchcomponirtes Lied"­the song in which the whole musical tissue is more or less modified to suit the changing sentiment of the verse-had justified itself to Schubert and even to Beethoven. None, however, had ever carried the principle to so complete a working-out as Liszt. That there is danger to the essentials of artistic unity and consistent development of the musical element in the extent to which he carried it, has been admitted by even ardent adtnirers of Liszt's methods and ideals. There is danger that not only the musical beauty, but the rhythmic organism of the poem may be injured, as Dr. H ueffer has pointed out. Liszt himself found numerous occasions when such a course did not suggest itself to him, as is seen in his purely lyric settings, such as those of "Du bist wie eine Blume" and " Es muss ein Wunderbares sein." \Vhether or not he has sometimes passed beyond the boun­daries that circumscribe the true limits of song, is still a question unsettled. We cannot do better 1n stating the position of his followers than to quote still further the opinion of the eminent English critic just referred to, who, in an analysis of the song, "Am Rhein," justifies Liszt in these words :

" The perfect blending of the two arts strikes the hearer with a feeling of beauty and harmony of a higher order' because it arises from the mutual surrender of two divergent elements in one common effort. In works like this Liszt has brought the efficiency of music for poetical purposes to a pitch formerly unknown in lyrical compositions."

RICHARD ALDRICH.

1M74. VI

FRANZ LISZT

TwELVE SoNGS IN Two VoLUMES

CONTENTS OF VOL. I

PAGE

MIGNON'S LIED SONG OF MIGNON)

ES WAR EIN KONIG IN THULE to (THERE WAS A KING l'N THULE)

ES MUSS EIN WUNDERBARES SEIN 16 (IT MUST BE WONDERFUL, WlTHAL)

FREUDVOLL UNO LEIDVOLL 18 UOYFUL AND WOEFUL)

DIE SCHLUSSELBLUMEN 20

(THE PRIMROSES)

IN LIEBESLUST 24 (IN LOVE'S DELIGHT)

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Poem by Goethe.

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L--i Mignon's Lied.

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Poem by Goethe.

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gave, him a gold- en beak- er gave. At ev- 'ry feast he_

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16

Poem by Redwitz.

,Es muss ein Wunderbares sein:' "It must be wonderful, withal:'

Schwebend. Original key.

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From first fond kiss till death lay low, __ In love a- lone still

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sa - gen, sich nur von Lie - be sa - gen. shar- ing, in love a - lone still shar - ing.

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Hi874

18

Poem by Goethe.

'£w. H)H7'i

,,Freudvoll und leidvoll." "Joyful and Woeful.''

jauchzend, ex - ul - taut,

1":'..

key.

smorz.

~.

IJ ~ .oli. .WU.fl /iflf .... 1/f

IFII' .... 1'" \:IJ

I.

fJ ~ ~. /iflfl lol!!'

\ "" Jlf

, .. ,~ ,J

@.

) Ll.

~ ~· M •• /iflfl 1/iflf

/ _ill \. 1'"

16874

f -.,_ - -- - ... l"'r

v J.-'

tf.'Ubt '

him-m:el-hoch prone, 9 9 ~~ild- ly ex-._._ ._ !~~ • -- !;::;" • -~ ~ .. z Clll. Ia ~· .., • .. t-' t-' - t-' ~ I-"'

'\ .. 1 I

accel. :::::::... - -

I ~ I r ~~--· -- - ~,..... .

~ I#A- ::.1 ::.1 ..... .... .~· ' ... --- -- - I..- .

~......._- .- 9 9

Ie, die - er a -

~.

~.

~.

G£w.

19

Jr> ~':'tv pooo ra ll - - • .. jauchzend,

ul- tant, 1":-1

- •

/':'.

- ·Ill

"""' ""

1'1 ~ . ... .. "' - -zum To - de be-de- spair - ful - ly

• .., .., - - - -I ~~~ I I

poco rall. :::::::.:

~. .. ,. --

ist die of a

,.~

I

...... -/iflf.-1. •

tf- r

See - le, die lov er a -

Ossia:f;}; J f1j lein ist die

heart of a

gliick -lich al -lein ist die blest is the heart of a

/

\ ) ~

20

Die Schliisselblumen. Aus ,Mutter Gottes Stdiusslein

zum Maimonate."

Poem by Joseph Miiller.

Frisch belebt. Arn'matu.

fl I ~ "l 1....-- ~

• ,, . " -""' --- _roo: ~

·'" " " ... - - 1""\ I . \.\ l./ - - -• schmucke Bllimchen schon ..Jie Gold,

flow'rs Dain- ty gold - ~ to- day,

fJ I •• r .. ! ~ ,, , h' .. ,ro.. I'

~.I

~

111.• •. .., h

v

f'J I II

II h

-.. •• e.t 1-. - •• I""" -.... :: •• •• ., -

_l

- I - I""" e.t I --

.. a .. e.t - ~ ~ e.t

_l_

: : : _11/1 ~ -

_1'"1

... - -

The Primroses. From "The Virgin Mary's Nosegay

for the Month o~ May:' Ori gina I key

. . . Ab major. letcld) mz't halber Stullme legg·ero e mezza voce

Dort am grii-nen Hli -gel gUinzen By yon verdant hill are shin- iug-

1':\ !':\ !':\ ~~'

I l l " ~ ... - ... ... -- - - - - - _......

ih - nen sind als Friih - lingsbo - ten al - le Men- schen Ev - 'ry heart de-lights to see them, Mes- sen-gers of

-- J~ - - Ji~ •• J~}; .. Ill. - .. .. - -- -. ., 'K IS - e.t :II; .. IS.• e.t ,_ - -. I I""'" I""" !II. • I - I""'" I""'" • I'"" I""'"

I""'" •

~ I ...... I .... :: ...

~ : •• =~ •• ... ... • • .. ., ~ - -

I

..., - ~ I""" 1""\ I""'" .J""': '../ _/ ../

-- - - - I""'" - -- -

_If _e.t II ••

gut uh.d hold. Spring are they.

~ I t! ~

Schliis- s~lbliimchen ist ihr Na-me urtd wie Ho - :riig siiss ihr Duft, They are call'd the wood-land primle, Hon - ey-sweettheir fragrance rare,

~~· ~ ~! ~ ~--~ ~ !-! !

11_1. II

!a Ill. Ill. .. -""' h __.,_ _1"": II'- v ' 1-'

fl I I ,,

"" h 11'/1 l'llllr. .... 1\ I

• tJ_ I • v

,I h I I'll " " ffiL/

' fl I " ""' h

Ln "" v L' .~ ., 15874

•• '

•• '

... '

sehr ez"n_faeh

r. .. I

eu11 molta sempll"eita

------ ---,.._ - --- _1""1._

v r

Jnd rJit Veil-chen Vy - ~l!g with the

!-f"'" .. loll !.a ,..

_11!_1""1_ _f\_

p 1111_

,.. ... "" -:r

.. Ia_

... -.. ..;.._ ~

_L ~-·--

urn ear-

..

_!!!_

1

~

------r

die lv ~ .. -'-!:

_l_ .. ~

~

- ,.. I""'". - - - I""'" I""'" ["""" -- 1-. .. 1-1-- .. __la_t- t-.,

' .... I .... ..... ,......,

.r--"'1 .. .. e.t .. •• .-1 ... ... '--- -· - - - -- --•• •• ... ... .. . .. .. . -------- ~ _1 _l

-~--- ~ 1'1.. " " 1""\ - h.- • - -I v 1""\ ·--- ... - - . r-If' :../ - v:

Wet .r Jur sie die lin de L~ft, - te - zen -

vio - let They per -fume the balm- y air, ._ ~ .. ,_ . La ,.. ., ... .. llllo. ,.. .. ..

I

-------------.;· ~ ,.. B

., .. - ~....~ -,-

21

fi I -• ~ _r'j ~ ~ l L ~ ~-

I 16 - 1'"'1 - ... ' ""' ' - ... '} fl 61 h ·- - - ..., 1.1 1'"'1 • "" .... ... - ..... -· [,, "' " loll !'"'I 1'"'1 ~ ..L -"- - .u -6 II' II' - :J

@. nfit d~m Veil chen urn die Wet- te wlirzen sie die lin- de Luft. Vy- ingwith the ear- ly vi-o-let They perfume the balm-y air.

~~~~~ l~) ~-! . ~ ~ .J .,_ . fl I

.,. I 16 ~ - - ... ') • -. ~:• - -· \

" k ... loll- ... e.t - ... e.t -· - .... ...

,.,.~ " loll'"'> ... -~ ... ... ./ ,__, ./ {., r r

@. I >- :::>

) fi I ·~ l ., ·~

l I II ... ,.

' I " II ..... .. ... ... ,... e.t . \ -~- - .... • - - .-. ,.,., ~"a " al/ "- - ... .. _) .. ~- - """ -'\:J - - • _0 .. --. --.

@. : .. -i

fl I p I .. II l L

"' k. - - 1'\ .... ' ,.,. " ..... .. - )

. .'.: l/ - - - - - - - j

@. Sie, des Len - zes er - ste Kin-der

i·~ They, the spring- tide's ear- liest chil-dren,

> .. ~ -- J~ fl I ---~-~ ~~ - -\

II - ~ - -~ r- -- - -~. r- .. . - •• - ---" h .. ... --LA --LA -- (,., . -.. ... .. .. .. .. 1!1 • .. .. .. . ,.,.~ ..... • -~ --~ -- t- - 1 ... I"'" - ,. . r- r- r- • ,__, @. • ..... ....... ---- rz"tard.

-.....! I ..... I - - pp ) ~ ~ ~~~ ("'~~ ~- ~ ~ II" ~:

... ~ I --· •• •·

f " ""• • h - 4Jf 4Jf ·Lo ~ ....... ........ ... e.t .. ... ,.,., .. / "" ~ ....._

'- \c' I I

@.

~ I l I I I I II I'. ' - L L L II II. I..

"" k - r- .. I f'\ ... 1'\ II h " ,.,. ~"a" ... / .... - - I"'!' I .... - .....

\c' 6 - - - I - -· - - -· -- -- II " @. sind gar frli - he schon ~rwacht, stie - gen aus des Gra - bes Dun-kel Do be - times their eyes un-close} From the gloom-y earth a - r£3 - ing

/ fj I • • r--.b !" ! ~ - - J-;1) - - ~-:b_ I I lA 'tT II -.. •• .. .. Ia lllo lllo - - ka .. - - ~ ....

\'~v ... LA - •• .., - - r- ... .. lllo ... ... .. ...... .. .. . h -"I

r- - !""' .r- r- • r- • " II h

" ..... --- I ..... I

( ... ~ ~ II" ~ ~ : ~ .. ...

~ ~ ... .. . • •· •• I

•• II .. .. e.t .. .. 11, k / k 1-- - ....._. h " " " ~ h

"

fl I I I I _l l - l ~ II., h " f'\ - - - r- - -, k _V'I ... r- .. !""' r-,.,. ~ V' II h .... .... - - - I r- r-1 -"" .... - - - 1

@. eh' der 0 - ster-mor - gen tagt, sie erschlos - sen frob die Er - de Ere the East - er sun a - rose. At the first warm sigh of spring- time

~ I I • • J .b • • • • • ~~ ~ .. • r~. h ~ ~ -. ~ .. -- .. - .. .. .. ..

, h "I .. lllo a ---. .. t"":" - e.t .. .. .. .. ... .. ~ - ... ...

\ 1'1' V' 11 h ,.. r- -- - r- ~ I \'- J " @. ..... I .... ....

sempre pp ) ~ !: ~· ,, , ,, ~ ; ~ : 1-

( .. .. ~ . "' .. -•• I 16, k .. ., r.........r .. .., ~ .... .. --- ..

/ h -" -- _ _j__ \. " [)I' h ...

1o871l

22

f} I -- __k _l I o I !.I r-c - - "" " 1\ "' , h l'"'i .. h-- • - --« " I'

~ .L ~ --- _.a.t_ --- • r-1' .... II r y ../ _.....

-@ dass sie ,r

ll - ler Blii- then Auf - ~rstJh'n, na- he, time is near-ing \Vhen the flowrsshall all a- wake,

~

fl 1 ~ ~ _.1 _i_ • .. ,_ " - ... t- u. t-

1: h .. - _1 ~ --· ~- IS t .•• IS

~ II'"'" -. ,.. 'fl• ,.. ~LI ..L

t I

-.-

~L~ ( ~- ~ ;,. .. t- a " .. loA ... ,.. I• r.1 .. ... ~ r-1' ... .,

_, h fl. _A I

"" ....

fl I ~ L L - . , 'I '\ "" L'c ~ ~ .. h .... I r-c - ·~ "' "" "" - - ,., .. _.t.

\: I - '}

t al ·- ler Blii - then Auf- er - steh'n. When the flow'rs shall all a - wake. ~) J

~ I ~ J .. ;,. q· - 11'-• I !I ~· ~ - -. #-, h .. -· - ..... ...

II', ,.., .... _j, A ~ . .I ~ I"

t. I

~ ·~ l "I 1-

I" 1111• Ia_ ) ~

I• ~ .. r"'': ... -- ~ _Loi;o, _1_ - __.., -_, h -. .. ,.. ... .... -"" ~ __!_ ...... • • 'I!:.)

15874

-... _ .. reo; 11111'""1 r-1' ....

und ver - kiin- den, And they tell, the

.a _ ~~~~

r-1' - -r- -"" - '../

!nd ler-klin-den, dass sie na - he, And they tell, the time is near-ing

~·· .. ~ loA 1.- --~Clio. Ia • ~ - ...

\llr-c ,.. a\ _A ---~ ~ ~

~ - - • ~ .... _!l_ -. 1_ _a\ -

I

I I

r; l _f~ --·-- ·- -- -. #- r- r- - r- r- - r- -~ .. - Ia .. -.. -..

~ -- r- - I'"'" -- .. r ... ......... ... ....... -~ ·I f-_!~~~,~~

"" ~-- -- - ...... ,. - ..... - ---.

_j I

I I

_j

23

~ I I I l 1':'. I J.l. ~ u. II .. 1"1. ' "' - II fft.L'Il.M' 1" .... !,.,. ' ' ' ... r- - - - - ~ lllol .M'l ,,

" v ... ... - - .... ~I r-1 r- 111111 ,.. ,.,..

'' I - - - - - - - - ./ II ,..

t. dass ich freu- dig dir die Schliissel weih' zu ' r H lh: H · me1 - nem er-ze sse rmn, How on Earth I glad- ly ten- der All my heart to thee in love.

'1 I ~ --- ~ -...... ~ I ~ tt. 1- I""""'! JJ.

/ • ... .M'JJ.li.M' u.

\ ... !,.,. oaf ... 'lll ... ~ ... ::11 ... ~ ... • . . ~ ,, ... ,. - - ::1111 • I .... - - . '- ... - ... - • - - 1111 '1:

. '-' I •• - - -- - -- 'llll - - - ... Tl

t. • • • • • • I - r p - • • ,/':'. ~

) • • • • i1 - j ~ _1.1.

f "' ... - - .. / .101' u. •• II ~ ~ ... ~ ~ ... ~ - ~ ~ - r- r-1 ~ - u.

'\ ,.., k .. '- f"f - 1111' .,.. .101'1

I' -"i '- -"i II" - "' ,..

v p v r I I ,...

noclt langsamer ~ I aneor meno - l l l 'if r.l - r-; - - I 1"1. ... " " , !,.,. •• ""- - - t-1: I r-1 - - - -,, r.. ,. '' llllr-1 r-o: II" I 1"1"'1' - ... -· --. 1"'1' r- I ,_, It' v I .A I

.J r. Jnd

r lass

.. r d~n be- scheid -nen Bliim -chen gleich, rmn gol-den es glan -zen, Pure and gold- en ev - er shin- ing, Like to yon-der hum- ble flow'r, - ------........ fJ I b~ ~ - ----- ~ /

..J I 1 ....., r, - • ... ... ... ...._ t ll h •• 1111 , - - - ~ ~.-.. .... ... .. -, ~,. ' -~-~ - ... , .,_ - - • • - ~ r-..J r- 'llll - . . • .. I dolez'ss. '~

- r i ~ . ~ i ~

~ ... bF' J I r:. - -•• II •• ~ - r- """

,.., !,.,. ' - _]_ -I' - r- • rL~ """ I ,

I ~

~ I • 3- .. --!! ~ l l - -smorz

r, - 1"'1' --II ' "' " -. " ,.

~ _h - - !'""' -lk.al· ~.J - - - ,. ,, ... ,. lolr-1 r-; v IV- - .... - r- " I II

'-' I v - ,. t. /einlindgolden lass es glanz~n, den bescheidnenBliimdheng·leich.

Pure and golden ev-er shin-ing,Like to yonder hum-ble flow'r. - ::--.-.......

/ -~ I ~ ...l T 'l r-- - -----.......__ . , - - ... ... "' ---t , !,.,. "'" - - . ~ 11.-...-1 • ,.. .<r .r..

cf~l'_ -~ f-1 .-fF w- ... - - - """ -""' - , ,z .,. .J • ... ':Iii ,., - .... ,.. _ltf __ r- ---.- --- f-1 -.. I ~ - r - """

~ I~ ~ ~ I'-1.J...j 1'-1 "'

(·· bn smorz. 3 3 3 per·dendmsi

I) - ...... .--... •• II ... - f-1 .. r- "-"' '-' -/ k - ... ...... .....

I' ,- "' '-"' ""' ~

I r

H18?4

24

,In Liebeslust."

"In Love's Delight~' Poem by

Hoffmann von Fallersleben.

Schnell_ sehr beweg·t und gliihend. Allegro) motto agt'tato ed arderde.

-·. ... Ja.L I.L - - ~-11

Lie - bes-lust, in loves de -light, in

~~--------------

--========--= ~ - I ~ - -_..._ ~ _1":. -.._ ......

Sehn - sucht

_l_ , • I ......

Qual yearn - ing_ sore,

::"""""""' .:::::1.

1,_ v -, .~ i

-

--J-

0

0

I -· I

ho list

-

Original key A~ major.

- -re mich, to me,

I

-I 0

0

In In

• • - .lA

=i i * .._ v..-

Eins A

sing' ich nur viel tau - send - mal thou - sand times I sing it_ o'er,

und And

t5R14

25

~ I> l pooo rat!

I -, l

# ~,.,_. 1'. .1"1. ... L.. v~ ~ - ~ -

"' "' v r.l• - 1.1-. ----fl!----- Ill. Ill. ,. 1'\' I ---.. nur fiir dich, und nur fiir dich. Ibh

all for thee, and all for thee. I'll

~ a tempo motto agz'tato - - -/ ... L.. ... ... ' &1 l . .. &1 ... ~ -,,.,. v I I ""

\ '-' J • • - - • • • _.. _.. h. _.. _.. .. -.. bi'- i v• -. -~ ~ .. .. "' ......

;ru~ ~ t 1 ) pooo rat!.

~ I>_.....- L~. b -l ~ 1..-

t - ---.._ , h.n .....__ ~. - V-,."" - • ... h. Vf-1 -,. ~ - " ~ •

,~ "" r.l• - .. Ill.

' .I -@. ~ -

~ --. l - - ,-I ' "' l - --,;; . 1.1- I - . , h ..;;: I ' ..:. - I f.# I ~ - - • l

"' "'" l"f - _., _.. - '""' I r-o; '""' -"'"' - '!" .• - I .. .r ' '11 - ~

!e mlch! s1ng es laut durch Wald und_ Feld, 0 ho -

sing a -loud o'er hill_ and_ dell, 0 list to me!

/ ~ ' ~

_l"\. "'

\ II h. .. - ---.. ' ... .. .. • .. _.., .. .. I ... ,_ v LJ. • __.. ..... I ..._ :.r. I Jll .-1 I ' I .. "'I .I -· - - - - • - _, -@. -. • • • • '11 .. ll ... ... • Tl • .. ..

) I ---- -- -- ~ t ·~ r:rJ• ---,; "-::-,. __., ro... 111-- -I• I • ~ -, f-1 ..._ -,. Jt#'""'

:../ h • .. - , .. ~ ._._

v ~ h._..

• ~) - I v- • _, -f) ::::::>- l ~ --I "' - .. ,

~ L.. - ~ - - ..,_ .1 _.. - ~

II'' "' v "' ~.~~ - llf _.. - -" .I

I '_/ llf.- --@ ' Is -Ich sing' durch die gan - ze __ Welt:

My song to all the world shall_ tell, f) l t\

I ~ - - " 1'. -h ... .. .. .. .. ..... .. \

II'"' V ...... , • • - - I .,_ I" 'J I"! -- --- . • ---.- ---.- .. _.. .-1 .-1 .... Jt#~ .-I .-I 11/f-

@. w• t§ ~ ~· •• .. ... .. .. .. I • .. .. - -) r erese.

> ...- ---..... ... ' ,. ~ ......

I• 'I' .. ~ .. ~ I -/ h Ill. --f'l--- • " ·- Ill. ,,._ v -.. ;-. u 1 ;;:-----

ff 1'~~ l 1- -fj _.,' . p~ ;.. --...... p

-..-- fl t-"' ..., h. - • -- r~ - - ~ . • "" "'" - j -J r I

" ich ue- be dich,~ _I

dich, - ich lie - be I love but thee1_ I love but thee,

~ ~ \ " ~ --.. vn ::;::::....smor.z. I " ..: ' lllf- - J' - ,_, ... .. • .. .. 11/f- .. . :J • " ... - ".1 ~ • I' I' "' v - - • I ..l. ~ - oo1. -'-' f ..: - . ..;;i 7 • r~ h. :..l lo::lll ".1 - r~ l-:..1

t. - .. - .. 1-9~/· ~"':' ... l.r~r-motto f Piten. ad ll'b. J:t: sf pp 8lll01'Z.

fj - .. 9- _,..-.....__ ~ ~ (:r ---I ,.~ - - - } ilfr ... .. ,-, - llf,. -, h ,. ~ • - f_ llf'~ .... at .. ,_.... .. - I. 1111'-~ - • ~ f)-~ - 1.- .. .___:_j_ ~-

oo1. Ill. .-1 - ":J -. LrLL .. J • .. 1.1 , •

t. ~ -~ ~

pp

15874

26

f'J • ., .....

~r" ~ " ' "' tJ

f) • ' ...... 1~ ...

\.'I

, «

) ~ '~-I• L

., h \. ....

., h

16874

et'njach p semplz't·e •I 1 - ,.~

ich I

- r.. I hi'"

"'-&

p piu

I

wacht, light,

II(, ., .... ,._

I

•

~ I -' . • - -II .. - ...

"!"' ·r~• ./ --lie - - be dich! love __ but thee!

1':'1 Tempo I. un pooo moderato I ~ I I ~-------1 1

L.....-1 -..-1 ..... • .,_ - .. ., " II - - - ,.~ -...., - - - ... - ... - - . --r:J

'"~r r , r '_~_x i~irrr~ 'Jiz'ten.

~ ~ - ,........ I - .-- :----..... ..----... "' I-'

muss Still

-ich I

" r- - -~ .....-I - •

sin - gen ich, muss haunt - eth me, still

I I Jl r1. h llh ... 1 lll'rlh

II "

I I r1. h

h _ .. r1 h

....

I I ~. h

h ... , lL ..

pooo rall.

~ ,., .

lie -love

'lJ

. . --:j :j ••

poco rall.

--­,., . I-'

..-1 r- r- ,., ---

sin haunt

- I

be but

• ..

--

II

trau - mend noch in dream - ing e'en in

stil - ler_ si - lent

- gen, ich eth, That

sin - ge, \Venn mein Aug' er song I sing at morning

I

--dich, ich thee} I

• .. .

-

" -· ... -lie - be love but -

a tempo 'I • • ... ... • •

dich! und thee! And

a tempo

p i

-

_I

\ <~

(

\ )

fJ 1 1 eresc. _--

, r1. 1-.. II h. v-I,_ V 'I h. ..-1 ...ool loo -1 -1

-.: J v - - w- --

tJ 'Siihst, das~och mein see with - in mine

l.o ~ II Ill

__, . II ,_,. V f.# -.r loi

L Ill

Au eye

::lilr. ~ -..-_, - ·-.v -loll -1 ~~ mol to

fl p ,;;:::. -....... p ff ---- ~ , h. f".J • - f"_.J ,,~

"" v .. 1\.C Ll

@ d1

ich, T

dich, ich lie - be thee, I love but thee,

fl I ' ' -., ,. II h. ..... , . ---~- fi/F ·= ,_ v ~ .. ar \.CI/ r~ ~-..-... loi - - ,r.J 1.-

tJ ~1.9: v ... lif"" ... lr· "--'"

ff pp ....-- [\ I I

'lo• i Jill- - -a Jill _;;;j •.

•• '!: llf~ - ., ~ --.- - 'Jlll.ll ./ ..... ~ ...

'"' ..

v- frl r: • - • - trl r..J •

.._.-- .._.-- - 1_ ~

11 ii

f) , -, h • - -,, .... v .... +---- --\: II -~ dichl

thee! ~~.: fl I - ~ t I , 1.- • '-" - ka ......... • • V"- ·~ • &IV'.

""""" .ol. .. -\: I • ~ • p dolce ~ --=-----... / I'"" -I• I .-1 .. -

/ h. - - '""" -- ---v - - - .... ;r1

-

I i I u .. _.._. -4f- v• :;

1587'!

-., --

• ....

.. ..

~

..J ;./_

--

27

-:. -•

I 11 r.J • -

ge spricht: re - veal'd:

• .. -• '

I.

ff

-ich I

I )L ' .,. . - . :II .. 11 111111 - ..,-

tangs a mer meno mosso

_,... I f.# I

lie love

' -•

---

' -be but

--... -rz"t. colla voee rail. ff ,.__:..--..,._____--...___

- I "-~-..... .. ...

p _:::-- r.J

.' ICh I

- J/lf_.

- ""­v-

- lJ11

u. ......... .!"'~ •

'[ l-

{ 1e - ,be

love but

...

.. -- .. .. -: .. ..

agz"o 0 l Ad

1"\ .... L.L 1'1..-1 - --L- ~~~~-

,d~ lC ,_ lie - be thee,_ love but

I I ~l ... ~ ---• .. Jill ..__ h-I M'-- -~

... _ - - -~· - • '1"-- I# .-. lolr- - -11 ~ ~-e- "' ,1 1(~11 'l~r~ p I I ~

il/f,r _AI! C.. --' -- illf'-- llf'-' - -~ ...,.., ..... -i11f- l..lo ' ' lOll f.#

tfU' Tl --- -, I

- - -~ -----.._ <" --. -- ,., .... _.

" - &IVW'! <.I

• .... il/f..-1 '' - ,... - ....,_ "' v L' ·:::.:.:: -:; ~-- vr #

~ ~I :lo.o- - I .--.. ... , ...... -..... _ .-1 -T..J "-"' ........ -..., .. ,

~

I. •• II II

•:±• ...... i'--1 u

-